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Bright Bees Nursery Group | Fees & Sessions

Where possible we look to offer flexible booking patterns and a range of funding options, including the government funded childcare provision. Nursery place for all 2, 3 and 4 year olds 15/30 hours Free!

We can offer some flexibility in sessions if you are on a shift working pattern.

To request full pricing and availability, please request a call back by clicking the link in to footer below or contact us via our enquiry form.

• All fees must be paid monthly in advance by the first of the month.
• Fees are based on 51 weeks per year, paid monthly in advance, by direct debit. Nursery will be closed for 1 week at Christmas and all public Bank Holidays. 
• Term time contracts available based on 38 weeks.
• Breakfast will be served to all children who attend the nursery before 9.00am. 
• Fresh fruit and snacks provided in all sessions (please see menu page)
• There is a registration fee of £25. 00. We offer 10% Family discount for siblings. 
• Minimum session requirements are two full days or three shorter days per week.

Testimonials

Lovely nursery! The staff and managers are Amazing. My children have come to the nursery for nearly 3 years, they love coming to nursery and are well looked after! Can’t recommend the nursery enough.

Robyn P

Parent

Bright Bees Gipsy Lane

We are extremely pleased to see our daughter’s successful journey towards her development and massive support by the Bright Bees team at all the stages. We are so grateful to Bright Bees that we do have any words to explain. Thank you so much.

Porinita K

Parent

Bright Bees Gipsy Lane

Bright Bees Nursery is family-owned and the excellent management know all the children personally. The nursery management are absolutely meticulous on processes which meant we always felt 100% confident that the safety of our children was assured and they would follow a good routine.

Aayesha P

Parent

Bright Bees Gipsy Lane

My daughter has blossomed since starting at Bright Bees nursery. She has formed strong relationships with all familiar staff within the room and I truly think this is down to the caring and naturing environment and that the practitioners are truly passionate about Early Years and the children who are in their care.

Racquel J

Parent

Bright Bees Gipsy Lane

My children feel happy and secure here. Good communication between Staff and parents. Would recommend to others.

Ayesha P

Parent

Bright Bees Gipsy Lane

BRIGHT BEES owned by CRYSTAL TEJCKA Daycare Home Preschool – Kearney, NE 68847

Daycare in Kearney, NE

BRIGHT BEES owned by CRYSTAL TEJCKA provides childcare for families living in the Kearney area. Children engage in play-based, educational activities aimed at helping them achieve important milestones. The facility is a home daycare which fosters the development of social skills in a safe, caring environment. BRIGHT BEES owned by CRYSTAL TEJCKA has programs and age-appropriate curriculum for infants, toddlers, preschoolers, and school age. Childcare is provided on Monday, Tuesday, Wednesday, Thursday, and Friday. Contact BRIGHT BEES owned by CRYSTAL TEJCKA to discuss operating hours, tuition rates, and schedule a free tour for you and your family.

Daily Hours
• Monday: 6:30 am – 5:00 pm
• Tuesday: 6:30 am – 5:00 pm
• Wednesday: 6:30 am – 5:00 pm
• Thursday: 6:30 am – 5:00 pm
• Friday: 6:30 am – 5:00 pm

Request more information to learn about the childcare subsidy programs they provide.

BRIGHT BEES owned by CRYSTAL TEJCKA is a home daycare that provides childcare for families living in the Kearney area. Children engage in play-based, educational activities aimed at helping them achieve important milestones. The facility fosters the development of social skills in a safe, caring environment.

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WeeCare lists childcare providers that are recommended by parents and have active state licenses
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Honey bee in contemporary art

People covered with bees and people covered with honey. Wax on paper and plexiglass, concrete honey and blue honey. Bees as an artistic image and as creators of art objects. All this certainly applies to the apis melifera, the honey bee, known to man since ancient times. But at the same time, all this is related to contemporary art, and to the pressing problems of our time. This text will be about this connection.

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Composer Karlheinz Stockhausen once compared The Tragedy of September 11th with “the greatest work of art”, and Slavoj Zizek commented on this as the best illustration of “ passions of the real ” in the art of the twentieth century. Despite the scandalousness of such statements, it is very difficult to resist the temptation to accept the idea that today the most striking works of art are what life itself creates, and not artists. That is why if the burning twin towers are “ the last work of art of the twentieth century “, then I dare to call the first work of the XXI century – another significant event – the surviving bees on the roof of the burnt Notre Dame de Paris. This is truly a work of art – genuine, alive, symbolic, giving hope for the future in the abyss of multiplying crises. And even these bees of the Buckfast breed are also a kind of selection masterpiece, a living work of art. This breed of bees almost does not swarm, is completely non-aggressive, extremely efficient and at the same time resistant to diseases and pests.

Actually, it was this vivid image that prompted me to turn to the theme of bees (as well as honey and wax) in contemporary art. Apis melifera (honey bee) is an almost eternal image in the art of Europe and Asia [1]. As long as human civilization exists, the same number of bees and their products are present in myths, legends and art. However, what is interesting is that in modern art they turn from a classical image into a theme and an artist’s tool. And now not only poets (which was a long time ago [2]), but also artists, to one degree or another, compare themselves with bees. Which is paradoxical in its own way: after all, the artist often seeks to express something personal, creativity itself is individual in nature, but he resorts to bees – creatures for whom only the collective exists.

So, what interesting ideas can be found in co-risk thanks to these little workers?

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Alive but eternal (honey and wax)

In order to somehow separate contemporary art (after all, the topic is still debatable), it is necessary to choose a starting point. For us, this could be Joseph Beuys – he was certainly one of the main innovators in the use of atypical materials in art. Thanks to him and the Fluxus movement he created, we can relatively accurately record the birth of performance. And surprisingly, honey, as well as several other materials (felt or felt, melted fat, straw) occupied a huge place in his work. In fact, he himself as an artist arises thanks to these materials, and this is not a figure of speech. Boyce creates a personal myth in which, after a plane crash, he recovers (and in fact: is reborn) thanks to the Crimean Tatars, who smeared his body with fat, wrapped it in felt and fed it with honey.

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Joseph Beuys and the dead hare

Subsequently, he will have two famous works using honey. The first is the famous “ How to explain pictures to a dead Hare ” (1965) in which Beuys, with his head covered in honey and gold foil, walked and talked around the gallery with a dead hare in his hands. The honey applied to the head in this case is by no means an alternative to glue, but a metaphor, which he himself explained. Josef draws a parallel between a bee giving honey and a human head generating ideas. He will also say: “ Honey is undoubtedly a living substance. Human thought can also be alive .”

Ten years later, he uses honey in the installation “ Honey Pump at the workplace ” (1977) – “honey extractor at work”, which was a network of plastic tubes through which two powerful pumps drove two tons of honey and 200 pounds of fat. Beuys’s interest is due not only to personal myth, but also to the strong influence of Steiner’s system . The latter was also fascinated by bees and what they create, which was reflected in several lectures on bees (they were included in the collection “Man and the World. Action of the Spirit in Nature”). Waldorf schools (created on the basis of Steiner’s anthroposophy) emphasize the importance of natural materials, for example, when creating children’s toys. And for Beuys, honey, fat, felt are, first of all, living, warm substances, with the help of which one can talk about life. Honey, like wax or fat, is very changeable and plastic, which depends primarily on temperature. Which also becomes a metaphor for changing the world and society: it should not only be restorative, healing, but also warm, carefully smooth.

Curiously, honey is symbolically a very dual material. On the one hand, it symbolizes the sun and life, since this substance is born thanks to living beings [3] and is for us primarily a food product (that is, life support). By the way, with the help of honey, bees literally store the energy of the sun: they spend 80% of this resource on warming themselves and offspring, and only the rest on food. On the other hand, an amazing property of honey is its resistance to spoilage – it does not get moldy, does not decompose, does not lose its energy value. During the excavation of one of the tombs of the pharaoh, a vessel with honey was found, which, even after 4,000 years, is fit for use.

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One can’t help but think of Blake Little’s photo series called “Preservation” in this regard. According to Blake himself, the idea was discovered by accident, but it very quickly led him to a single concept: the visual equalization of people with the help of honey. In this photo shoot, he photographed various people completely covered in honey. Of course, the analogies with insects preserved in amber are more than obvious. Art critic Kenneth Lapatin , however, also emphasized that human flesh, unlike honey, an “eternal pure substance”, is prone to aging and decay, which allows them to be successfully rhymed. He writes: “ Honey can distort and intensify forms, emphasize physical perfection, induce disgust, and suggest both immortality and death .”

It should be noted that, unlike honey, another bee product – beeswax – is one of the most ancient companions of the artist. The technique of encaustics originated with the ancient Greeks and subsequently developed up to the present day. And, like everything related to bees, it turned out to be quite stable over time. For example, the Fayum portraits of the 1st-3rd centuries still amaze with their saturation of colors. But we are still interested in modernity, so I will only note that natural wax is still actively used in art. I’ll just name a couple of names.

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Che fare? Mario Metz

Of course, this is Mario Merz, one of the members of Arte Povera, a movement focused on the rejection of the aesthetics of consumer capitalism. Merz, starting in 1967, actively used waste materials from everyday life, especially natural ones (wax, leather, twigs, clay), often combining them with political or artistic quotes lined with neon tubes. In the same years, Linda Benglis created her “poured sculptures” using wax and latex, and then moved on to “torses” made of polyurethane.

Another interesting example is Heather Hutchenson’s work in the 90s, in which she combines acrylic, plexiglass and wax (one of her works is called “For The Bees”, 1992). Somewhat similar to Rothko’s paintings, Heather’s compositions, thanks to wax, get very soft shades that create an effect of calm. The return to enacaustics is also characteristic of other authors: Mia Westerlund Roosen, Michelle Stewart, Mike Solomon experiment with it. And in almost all cases, the choice of material already acts as part of the message, as, for example, in Mike Solomon (wax on paper 1992-1994, e.g. Bound Weat, Indian Corn, Honey Comb and others) wax acts as an old-fashioned material, closely associated with the agrarian era, and therefore helps to explore the images of the 19th century.

Rooftop bees (city honey).

Artists are increasingly comparing themselves to bees. And there is an interesting explanation for this. Throughout the twentieth century, a kind of demythologization of creativity and the creator took place in art: from the chosen one of the muses and the bearer of talents, he became a private individual, largely subject to the laws of the era, the academy and the workshop. In other words, today an artist is practically unthinkable without the entire infrastructure of galleries, grants, curators, art markets and the media: literally like a bee is unthinkable without a hive. This social being produces something that, if not nourishing the minds of people, then at least supports the inner life of contemporary art.

With the advent of post-humanist ideas, man ceased to be a reference point at all, which allows you to finally change the emphasis: the human world is in many ways similar to the life of insects, and not vice versa. And it largely depends on him. A landmark in this respect is Poetics of Insects (2006), a collection of essays describing how human intellectual and cultural patterns have been directly influenced by the natural history of insects.

From this perspective, it is not surprising that artists try not so much to use the products of bees as to create something with the help of bees. The idea of ​​cooperation between an artist and a bee has become especially relevant due to the spread of environmentally responsible thinking. And as is often the case with people, the importance of these “honeybirds” (as one Baroque poet put it) became most evident against the backdrop of the threat of their disappearance. Let me remind you that in 2006-2007, 80% of all bee colonies died in the USA for an unknown reason. This phenomenon is called Colony Collapse Disorder (CCD), and its causes are still being debated. It suddenly turned out that our daily existence is very closely connected with the fate of the honey bee, because, according to UN calculations, it is she who pollinates 70% of key agricultural crops (that is, more than a third of all food sources available to mankind are fundamentally tied to bees). This implicit but close connection is especially evident in the example of Sichuan province, where bees have almost completely disappeared, and people themselves are forced to do their work (and this is millions of labor hours).

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Hives in front of skyscrapers. Why not?

Contemporary art has responded to this problem with a rather unusual solution. In 2007-2008, the artistic association finger (Florian Haas and Andreas Wolf) came up with the project “Urban beekeeping”, during which everyone could try and buy “ Frankfurt Museum Honey “. City honey as a work of art is a truly subtle hint in which you can read a lot. For example, some have interpreted this as a way to literally taste the quintessence of their own environment of existence. Others noted a socially critical subtext: invisible workers live and work right among us, whom we hardly notice. There is also a third version, according to which craft honey (or what Kosuth and Moore have been called “hipster beekeeping” [4]) is not only an art practice, but also a tangible alternative to modern industrial beekeeping. And soon bee hives began to appear on the roofs of operas and theaters in Europe, on the attics and balconies of modest amateurs.

Surprising as it may seem, but “city honey” is very good, high-quality honey. Culturologist Ralph Dutley notes that, contrary to expectations, bees like life in cities (at least in European cities) and they collect more honey in it than in fields. And honey itself is rich in useful substances and flavors. The fact is that today most of the bees suffer from a lack of diversity (the fields are sown with monocultures), as well as from herbicides and pesticides that are used to poison the fields (just so that there are no weeds, many of which are actually honey plants). In city parks and on the balconies of houses, a much greater variety of flowers is found, and the flowering period is longer. For example, sold in Paris “ concrete honey has passed all the necessary examinations. As Dutley summarizes: “ all smacks of bee surrealism, but remains a fact of our era.” It is also worth noting that this form of beekeeping is very humane, unlike large producers, who will easily destroy a hundred bee colonies if their transportation or wintering is unprofitable. Perhaps, while caring for a beehive in his city apartment, a modern person can feel the rhythms of nature, as well as feel a connection with the great ones. Indeed, many famous people who left their mark on culture were beekeepers – these are Virgil and Augustine, Maurice Maeterlinck and Wilhelm Busch, Leo Tolstoy and Sylvia Plath, and many others.

By the way, a curious fact, a bee could teach us a more measured rhythm of life. Contrary to the centuries-old stereotype, a bee is, of course, a hard worker (a field bee will fly up to 800 km in a lifetime, and bees never sleep in general), but without fanaticism: modern studies have shown that only a third of the entire life of a bee works. However, people in general were wrong about a lot of things about bees: for example, until the 17th century, queens were considered males and called “king”, but they have a very peculiar matriarchy.

In general, the idea of ​​making special honey is not new, since beekeepers have tried to control this process since ancient times (for example, by influencing access to the source of nectar). Including for medicinal purposes, which is generally relevant today. For example, there are very encouraging studies, according to which such a scourge of modern medical institutions as Staphylococcus aureus (resistant to known antibiotics) was defeated with the help of a special kind of honey collected by bees from a tea tree, also known for its antibacterial properties. There have even been projects to feed the bees a mixture of sugar and milk, or sugar and carrot juice, to give the honey an unusual flavor.

However, life itself does not lag behind in this kind of creativity. For example, in 1985, Peruvian customs officers found cocaine in a large consignment of honey from neighboring Ecuador. Moreover, the drug was not mixed mechanically, but obtained naturally – bees were released on coca plantations. In 2012, French beekeepers from Alsace were surprised by greenish and blue honey. No wonder, because these bees found waste from the production of M&M as a source of sugar, from where the dyes got into the honey. Dark blue honey was also discovered by beekeepers from North Carolina, but there is still a dispute about the source (whether it’s blueberries, grapes or flowers of the local Cirilla racemiflora) is still going on.

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Building together (bee inspiration).

Of course, the bee and everything connected with it remains a very attractive and multifaceted image for painters, especially gravitating towards surrealism (starting from Salvador Dali with the painting “ Dream caused by a bee’s whip around a pomegranate, a second before awakening and ending with contemporary authors like Casey Weldon, Ray Caesar and Mark Ryden). But as I said above, contemporary artists are most interested in a living bee – after all, it combines the skills of a creator-builder and a collective mind. By the way, it is worth noting that the praises of bees in their wonderful mathematical abilities turned out to be premature: the ideal hexagon is obtained largely due to the properties of the wax itself. But communication in bees is really one of the most interesting and mysterious topics.

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Mark Ryden’s work

A student of the “language of bees” Karl von Frisch discovered that worker bees tell others about the sources of nectar and called it the dance of the bees. However, he did not take into account the fact that the bees inside the hive rely very little on vision: the dance is rather an attempt to transmit vibration to the frame – with the help of such a sensory telegraph, other inhabitants of the hive learn information. Bees, like many collective insects, obey the language of smells. For example, a bee that detects a threat to the hive releases a special substance that informs other bees nearby. It smells like ripe bananas, so it’s better not to go near the beehives with them. It is with the help of pheromones secreted by the mandibular glands that the uterus inhibits the development of the genital organs in the rest – worker bees. They also inform the inhabitants of the hive about the preparation for swarming and then act as the main guide (in the state of a swarm, the bees surround the queen, protecting it). A similar tool allows bees to be fooled with a similar substance (beekeepers use it to catch a swarm).

In this regard, one of the artists had the idea to completely cover himself with bees. Jeroen Eisinga in project Springtime sits in front of the camera for 20 minutes until he is gradually covered from the back by a moving living chaos of 150,000 bees. However, such fun arose already in the 19th century at fairs, where beekeepers portrayed a beard of bees, well, in the late 90s, special contests appeared (the world record holder in 1998 collected almost 40 kilograms of bees in an hour). Asinga, unlike the creators of honey, draws our attention to the fact that bees are part of nature, they are spontaneous, unpredictable and dangerous. It is thanks to this that a truly “sublime” image has turned out in the artist’s film.

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frame from Jeroen Eisinga’s Springtime

This is a continuation of actionism, and of course, many fashion art critics did not like it. Instead of portraying victims from bees or talking to them, imitating some kind of anti-anthropocentrism (as Carolyn Kristov-Bakargiev did in preparation for the dOCUMENTA exposition), Eisinga works with a very classic connection “nature – wildness “. However, in my opinion, the performance of the artist turned out to be much deeper in its meaning. In addition to the eternal theme of the confrontation between man and chaos, the moment of research is very subtly woven into it, which is also transmitted to the viewer – looking at this means experiencing your anxieties and fears about both the uncontrollable in life, and in relation to this life that does not communicate with us (insects). Why not a beautiful metaphor for the processes that modern man faces?

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work by Hanka Ladislav

A simpler way was taken by such authors as Hanka Ladislav (Hanka Ladislav) and Aganetha Dyck (Aganetha Dyck): the first combines his drawings with honeycombs built by bees, and the second – sculptures. Ladislav depicts objects of nature and then places them in a beekeeping frame, which the bees in the hive cover with wax honeycombs. It is ironic that the honeycombs themselves serve rather as a frame, because the central place remains behind the artist’s drawing. Dyck works in the same way: for several months, and sometimes even years, bees cover old-fashioned porcelain figurines (usually in the Baroque style) with wax cells.

Much more interesting (and more collaborative) are the works of Hilary Berseth ( Hilary Berseth ): he creates art objects with the help of bees, directing their buildings. His “programmed beehives” essentially open up a new area in which sculpture intersects with architecture, and topology with ethology. Berset creates original frames from wood, wax and wire, and then trusts the bees – their natural craving for construction, order and optimization. The result is really something more than just the realization of human design. These objects are approaching a parametric architecture created with the help of algorithms.

Actually, this architecture itself (with its desire for organic complexity, plus the fact that it is often assembled by drones) often refers to thoughts about the hive. It is quite possible that our cities are destined to develop in this direction. After all, without a mental pedestal, a person is the same social being as a bee, also looking for optimal strategies for adapting to the world (except perhaps with a different form of regulation – which was noted by Anri Bergson , who divided closed and open types of societies).